Three Mughal Portraits: Emperor Shah Jahan, Emperor Bahadur Shah I and Sa’adat Khan of Avadh, Delhi School mid 18th century
Inscribed on reverse: Shah Jehan, Bahahdah Shah, Sadat Khan
The portraits in this book belong’d to Raja Chait Sing and were taken from his library at the capture of Bidzighur.
Purchased for Sir John Murray by Lieut James Hoare – 3rd July 1796.
The portraits in this book belong’d to Raja Chait Sing and were taken from his library at the capture of Bidzighur.
Purchased for Sir John Murray by Lieut James Hoare – 3rd July 1796.
Portrait of Emperor Shah Jahan, Mughal 18th century
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Portrait of Nawab Saadat Khan of Avadh, Mughal 18th century
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Portrait of Emperor Bahadur Shah I, Mughal 18th Century
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Opaque watercolour and gold on wasli. Mughal, Mid-18th century. Size 9.25 x 6.25 in (23.5 cm x 16cm).
Each of the three figures, Emperor Shah Jahan (1592 – 1666), Emperor Bahadur Shah I (1643 – 1712) and Sa’adat Khan I, first Nawab of Avadh (c.1680-1739), is pictured standing in profile on a terrace against a sky background. They are splendidly attired in full-length patterned jamas with lappets and floral patkas. The two emperors are adorned with strands of pearls and jewels (the prerogative of the emperor and his sons), while all wear jewelled turbans. The halos encircling the figures’ heads were usually reserved only for portraits of individuals of royal status. The depiction of the Nawab of Avadh with such a symbol would therefore suggest that these portraits were commissioned by him or one of his successors. Sa’adat Khan was a key ally of Muhammad Shah (r.1719-48) and often appears standing behind the emperor in durbar scenes. He and his successor Safdar Jang (r.1739-54) spent the majority of their time in Delhi, appointing deputies to govern Awadh in their absence. Following years of political instability in Delhi with the frequent succession of Mughal emperors between 1707 and 1719, the reign of Muhammad Shah saw a great revival of Mughal painting. The genre of portraiture dominated; the imperial artists portraying the ruler and his chief allies in simple individual portraits that could be assembled into albums. These portraits are probably executed by a minor artist of the Delhi atelier. The portraits of the two emperors, one holding a turban ornament and the other a sword, are likely to have been positioned opposite each other in the original album. The nawab holding a flower has lost his partner, however one could suggest that this may have been a portrait of Safdar Jang. The father of Raja Chait Singh (r.1770-1781) from whose library the paintings were taken (according to the inscription) was a close ally of both the second and third nawabs. It is therefore likely that at some point one of them presented the album as a gift to the Raja, as was common practice, and that they were then inherited by his son. The East India Company defeated Chait Singh’s forces at Bidzighur (Benares) in 1781, at which time the paintings were taken from his library. In 1796 the paintings were purchased for Sir John Murray, a senior East India Company general based in India from 1796-8 and 1801-1805. |
Inscription on the back showing provenance
The Mughal portraits, framed and glazed.
Provenance: Personal collection of Raja Chait Singh (1770 - 1781).
Christie's New York, East, Sale 8275, Lot 388, September 1999. |
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